New Materialities and Maker Paradigms in Schools
Chapter 8. Music, Art, Engineering: Enacted Encounters
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MUSIC, ART, ENGINEERING: ENACTED ENCOUNTERS
In this chapter I’ll use the typology of contact points (Table 6) as an interpretative guide to understand whether and how teaching practices are adapting to, integrating with, or resisting digital making and learning pedagogies. What follows are narrative vignettes of events and conversations I observed and participated in. I’ve crafted participants’ stories so that a comparative analysis might call on features from the typology of Ways and Challenges. As discussed previously, the typology was gathered from what participants said and did while at school. In this sense, it might be loosely held as a catalog of teaching and learning configurations.
These vignettes were constructed with Laurel Richardson’s (2000, 2002) conventions of autoethnography in mind, particularly, first-person point of view, chronological unfolding of the plot, scene descriptors, and reported speech that conveys a sense of presence and attachment while “[meeting] literary criteria of coherence, verisimilitude, and interest” (Richardson, 2000, p. 931). I’m guided in this use of narrative as an interpretative device by several examples from cultural studies, including Maxine Greene’s (1995) evocations of fiction and poetry to explore the role of imagination in education; Steven Best and Douglas Kellner’s (2001) use of Thomas Pynchon’s 1973 novel Gravity’s Rainbow to grapple with postmodernism; and Katherine ← 167 | 168 → Hayles’s (2012) analysis of data structures as narrative constructs in the epic poetry of Mark Danielewski’s 2006 novel Only Revolutions. And from the field of science and...
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